How does our daily mindreading—that is, our attribution and misattribution of mental states (such as thoughts, feelings, and intentions) to ourselves and others—differ from the mindreading we engage in when we read fiction? I have argued elsewhere (e.g., “Secret Life of Fiction,” PMLA, 2015) that drama, novels, and narrative poetry play and experiment with our mindreading, by “embedding” mental states within mental states at a much greater frequency and intensity than happens either in our daily social interactions or in other written discourses. In this essay, I attempt to historicize this claim, exploring how the pattern of such embedment has changed over time in different national literary traditions, with a brief look at eighteenth-century Russian literature and a particular emphasis on ancient and modern China.
An overview of some central ideas and movements in nineteenth-century criticism and aesthetics during the Victorian period, after the heyday of Romanticism. This lecture centers on the development of historical scholarship and its context in the history of ideas, followed by some notes on incipient sociological theories of literature and proto-Marxist critical approaches in Czarist Russia.
Through an analysis of the ideas about change and continuity in Russian history and its dif- ference or similarity with the Western European experience, the article explains that the historical transformation begun with the Russian Revolution of February 1917 and continued by the Bolshe-vik rise and subsequent civil war, can be considered within the context of the processes of violent modernization of the early 20th century.
Encounters with the Russian Avant Garde
This paper claims that the scope properties of the Russian disjunction marker ili correlate with the phrasal vs. clausal nature of the disjunction: phrasal disjunction yields narrow scope whilst clausal disjunction yields wide scope. In so doing, we introduce novel empirical generalisations that are problematic for purely semantic analyses of PPI-disjunction.
The present doctoral thesis examines the syntax and semantics of a number of constructions encoding operator-variable dependencies in Avar, a Northeast Caucasian language predominantly spoken in the Republic of Daghestan in the Russian Federation. In doing so it touches upon such empirical domains as reflexivity and anaphoricity, argument structure, Ā-movement, pronominalisation and pro-drop, as well as important theoretical notions of numeration, derivation, locality, formal features, modularity and the general architecture of the grammar.
The Digital Émigré is a web-based resource for exploring the periodical literature of the 20th century Russian emigration. As an online repository of Russian journals and magazines it makes accessible a curated textual corpus in an archive accompanied by a database featuring article-level bibliographical information of these journals. Allowing for new kinds of distant reading of the text and the evaluation of genres, authors and their social communities, Digital Émigré encourages new approaches to journals as mass phenomena that involve thousands of authors and are deeply rooted in the intellectual life of the Russian emigration. The project thereby bridges philological approaches, cultural studies enquiry and sociological questions about intellectual networks and communities of artistic production.
This article regards the scandals of the “MetrOpol” almanac, Viktor Erofeev’s Russian Beauty and especially the perestroika films “Little Vera” and “Intergirl”. Through their performance of provocations, oftentimes sexual, transgressors activate the suppressed desires of their audience, whose defensive reaction copies the performative mechanisms of the initial transgression. In applying such a reading to perestroika scandals and their reception, this article critically examines “Little Vera” and “Intergirl” as cinematic scandals and explores their ability to start productive debates about moral values and social rules.
An introduction to the analysis and interpretation of European classical music from 1827 to the present. The focus is on music of Europe, in particular of France, Germany, and Italy, but thanks to the vagaries of colonialism and imperialism we will also direct our attention towards countries where the musical traditions of Western Europe spread, including Russia and North America. Beginning with the later works of Beethoven, we will work our way through two centuries’ worth of music up until approximately the present day. We will be looking in detail at the music itself, the social contexts in which it was produced, and at the people who created and consumed it.
In the article, we trace some aspects of development of eventivity and narrativity in Medieval and early Modern Era travel literature. Dissecting episodes of Sir Thomas Smithes Voiage and Entertainment in Rushia (1605), A Travel of Anonimous Citizen of Suzdal to The Council of Florence (15th century), Russian Primary Chronicle (12th century), and The Tale of Peter and Fevronia (1540s), we demonstrate a shift of anarrative elements such as show, performative, and declarative into narration by retelling and re-framing of initial ‘history’. Due to the process, a travel report is substituted by a new work of literature where author’s aesthetic vision dominates even though narration is quite weak and theatricality plays a significant role.